Old (**) – It’s better to burn out…
There are no performances that will resonate, as the constantly shifting variables give everyone a form of schizophrenia to the point of mild annoyance.
The Woman in the Window (**1/2) wears its influence out
There is next to no thrill the viewer gets from seeing Adams huff her way through the scenes, wondering if she’s imagining things or if her life is even worth living.
Oxygen (****) is high tension
If you can handle a story with real tension and digital countdowns, start here.
Forgotten Gem: Murder By Death (****) is about the punchline
If you like Knives Out, this film is at least a spiritual predecessor to that comic mystery masterpiece. Absurdity is a journey in an of itself. The mystery is a bonus.
Fatale (***1/2) – Attraction
This film is a good time showing beautiful bad people.
Netflix’ I Care A Lot. (****) a new type of hunt for an old type of animal
This is a solid entry for Netflix. In picking Blakeson, a mildly accomplished director with a good, albeit short track record and allowing him to thrive, its very clear indication that they’ve turned a corner as a studio.
Twilight (**) Not THAT one – is a movie out of time
It is sad, but time waits for no one.
Charley Varrick (**1/2) A simpler, more horrible time
Matthau’s line about this is better than any line in the film “I have seen it three times, and am of slightly better than average intelligence but I still don’t quite understand what’s going on. Is there a device we can use to explain to people what they’re seeing?”
Sea Fever (***1/2) is The Thing in the Sea
For those unfamiliar with Alien or, better John Carpenter’s The Thing, Sea Fever will be a surprise.
The Little Things (****): Lonesome road home
I appreciate ambiguity of the ending and actors willing to be shepherds with their frailty revealed while they seek to defend the rest of the herd.
Forgotten Gem: Insomnia (****) still resonates
So if you haven’t watched Insomnia for a while, or even if you’ve never watched it, take the opportunity. It’s anything but wasted time. It’s excellent filmmaking.
Netflix’ The Call (****) is a nice thriller
Park and Jeon do an excellent job of shifting the emotional landscape.
Another Look: Criminal Law (***) Big Fish, Little Pond
This film made impression enough on me that I started following Oldman, there and then, and I have never regretted it.
Criterion: Images (***) is Altman’s house of mirrors
It’s hard to forgive a director of Altman’s skill the fact that he never comes close to having us fooled.
The Lie (**): Parent Trap
How one reacts to The Lie will depend on how far along they ride with its conceit.
Netflix’ Enola Holmes (***) is a humble vanity project
The point to this film, and there is one, is that we get to see a young actress on the way to her prime enjoying herself.
